Electra: discreet homage to the Greek Theatre
Electra live Dam pain and anguish over the murder of his father Agamemnon and plans, then reunited with his brother Orestes to take revenge on the murderers: his own mother Clytemnestra and Aegisthus. Presented by the group and directed by Francisco Aqualuna Echeandia, this discreet new version of Sophocles' immortal tragedy comes without surprise, stripped of all artifice and fanfare, focusing attention on this tragic heroine par excellence and its continuing desire for revenge in the midst of suffering. And this simplicity in the staging by the director, that even with actors doubling characters, can you make a frown to academics or theater purists, but is itself a virtue in the sense of bringing this work to a public that still know the value of the Greek tragedians and approaches for the first time this kind of classical drama.
Only a strong actress and character could properly interpret the lead role. Katie Valencia is a good choice, convinces her agonizing waiting, in their confrontations with his mother and sister, and is particularly moving when he is reunited with his lost brother. Perhaps management should refine some excesses in the crying and screaming, to get a more subdued performance by the actress, to avoid some unnecessary excesses. The decision to have two actors playing major roles is risky, mainly because the characters of Ayo and Orestes also disguise their identities in the work. Both Gabriela Billotti (Chrysothemis Clytemnestra and sister of Electra) and Ricardo Morante (the Ayo and Aegisthus) successfully met its dual paper, but the director could refine the characterizations, especially in vocal composition. Raul Durand and Jim Ball as Orestes and the Chorus respectively, have good participation.
Being a minimalist, unobtrusive installation in black box with a lone bench at one end, lights and music inevitably meet a key role, which must be adjusted, as they often look and listen erratic. The costume does not help to define a specific place and time for action, so that we can deduce that this detail is not crucial to the director. The actors are then the only support for this tragedy, which achieved come to fruition, but not explore as many nuances that each character could develop, for example, causes and consequences of matricide by the main character. Electra of Aqualuna is beyond the repairs that you can do the assembly, a real success, to revisit a classic of paramount importance, which remains in force despite the years and that is the end, the origin of all existing theater today.
Sergio Velarde
May 1, 2011
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